aS part of the aaron BetSky-Curated exhiBition Out there: Architecture BeyOnd
Building preSented at the 2008 VeniCe Biennale, amSterdam’S drooG and keSSelSkramer’S S1ngletOwn preSentS an aBStraCted exploration of a demoGraphiC timeBomB
where one-third of europeanS will Be liVinG alone By 2026.

aBove

Perhaps the greatest understatement over the
past few months is that our global economy is
held in precarious balance, with the US financial
system appearing to be on the brink of collapse.
Yet despite this turmoil, current international
architectural exhibitions and conferences continue to extoll the virtues of speculative high-rise
buildings, the omnipresent themes of superstardom, and the never-ending questions surrounding regional identity. Is the global architectural profession prepared for the new economic
realities that have already arrived?
As the calamities of Wall Street took place in
September, copious amounts of prosecco flowed
at the opening of the Venice Biennale. Chaired by
Paolo Baratta and directed by Aaron Betsky, the
11th International Architecture Exhibition, subtitled Out There: Architecture Beyond Building, presents a theme intent on addressing the “salient
issues of society.” An ambitious program to be
sure. “What should be an obvious fact: architecture is not building. Architecture must go beyond
buildings because buildings are not enough. They
are big and wasteful accumulations of natural resources that are difficult to adapt to the continually changing conditions of modern life,” wrote
Betsky, a well-regarded architectural thinker who
clearly admires experimentation and enticing
images over real solutions. Fair enough, given the
legacy of the Venice Biennale, but are the installations, manifestos and utopian futures on display
enough to inspire architects to crystallize strong
experimental visions for today’s world?
As one might expect, all the usual suspects are
celebrated in architectural festivals like the Venice Biennale. Frank Gehry was awarded the Golden Lion for Lifetime Achievement and the new
bridge designed by Santiago Calatrava opened to
considerable protest, as many see this bridge as
an expensive atrocity propelled by political interests. When questioned as to why he never made
the bridge universally accessible, Calatrava arrogantly replied, “Nobody asked me [to].”
Responding to Betsky’s thematic challenge, the
architects at the Arsenale and the Padiglione
Italia at Giardini produced little beyond seductive
installations that fetish real-world issues such as

poor air quality or the increased number of
single-person dwellings in our cities. But in
Venice, notable attention is being paid to heal
this sick, overpopulated and polluted planet.
Several pavilions do examine the ways in which
global cities are experimenting with new and
successful sustainable programs and buildings.
Our own Canadian pavilion showcases a range of
sustainably designed projects over the past decade while the Danish pavilion offers thoughts
and opinions from experts on sustainable citybuilding practices around the world—including
the challenge to move toward bike-centric planning, mass transit urbanization, and corporate
social responsibility.
Unfortunately, the plague of fame and vanity
continues to spread elsewhere in Europe with
Barcelona hosting the World Architecture Festival in late October. Intended as a showcase of
new and emerging projects, the festival intends
to bring together the world’s best critics to praise
continuing trends and glorify fashion-plate
architecture. Touted as a chance to “network”
with big-name architects and possibly shake
hands with Sir Norman Foster and Robert A.M.
Stern, it’s doubtful that much inspiration can be
drawn from an expensive trip to Barcelona to
hear aging iconoclasts deliver the usual stuff: tall
buildings for rich clients, globalization, and
regional identity.
It is disconcerting to be devoting so much attention to old paradigms of architecture—all while the
financial textbooks are being rewritten, the global
economy is repositioning itself, and the need to
research and develop more sustainable and innovative buildings has never been so important. In
perpetuating traditional formats of international
architectural expositions, architects aren’t doing
enough to leverage their skills and imagination
during uncertain economic times. Now is not to
the time to sit back and listen to architects deliver
overtures about their hugely expensive and iconic
projects in Moscow or Dubai. Instead, we must
work toward solutions in these challenging times
where the state of our global economy and the
environment is held in the balance.
ian Chodikoff

contriButing­­editors
GaVin affleCk, OAQ, MrAic
herBert ennS, MAA, MrAic
douGlaS maCleod, ncArB
regional­­correspondents
Halifax ChriStine maCy, OAA
Montreal daVid theodore
Winnipeg herBert ennS, MAA
regina Bernard flaman, SAA
Calgary daVid a. down, AAA
edMonton Brian allSopp, AAA
puBlisher
tom arkell 416-510-6806
sales­­manager
GreG paliouraS 416-510-6808
circulation­­manager
Beata oleChnowiCz 416-442-5600 ext. 3543
customer­­service
malkit Chana 416-442-5600 ext. 3539
production
JeSSiCa JuBB
graphic­­design
Sue williamSon
vice­­president­­of­­canadian­­puBlishing
alex papanou
president­­of­­Business­­information­­group
BruCe CreiGhton
head­­office
12 ConCorde plaCe, Suite 800,
toronto, on m3C 4J2
telepHone 416-510-6845
faCsiMile 416-510-5140
e-Mail editorS@CanadianarChiteCt.Com
Web site www.CanadianarChiteCt.Com
Canadian architect is published monthly by Business information Group,
a division of BiG magazines lp, a leading Canadian information company
with interests in daily and community newspapers and business-to-business
information services.
the editors have made every reasonable effort to provide accurate and
authoritative information, but they assume no liability for the accuracy or
completeness of the text, or its fitness for any particular purpose.
subscription rates Canada: $51.95 plus applicable taxes for one year;
$81.95 plus applicable taxes for two years (GSt – #809751274rt0001).
price per single copy: $6.95. Students (prepaid with student i.d., includes
taxes): $32.50 for one year. uSa: $101.95 u.S. for one year. all other
foreign: $101.95 u.S. per year.
uS office of publication: 2424 niagara falls Blvd, niagara falls, ny 143045709. periodicals postage paid at niagara falls, ny. uSpS #009-192.
uS postmaster: Send address changes to Canadian architect, po Box 1118,
niagara falls, ny 14304.
return undeliverable Canadian addresses to: Circulation dept., Canadian
architect, 12 Concorde place, Suite 800, toronto, on Canada m3C 4J2.
postmaster: please forward forms 29B and 67B to 12 Concorde place,
Suite 800, toronto, on Canada m3C 4J2. printed in Canada. all rights
reserved. the contents of this publication may not be reproduced either in
part or in full without the consent of the copyright owner.
from time to time we make our subscription list available to select companies
and organizations whose product or service may interest you. if you do not
wish your contact information to be made available, please contact us via
one of the following methods:
telephone 1-800-668-2374
facsimile 416-442-2191
e-mail privacyofficer@businessinformationgroup.ca
Mail privacy officer, Business information Group, 12 Concorde place, Suite 800,
toronto, on Canada m3C 4J2
MeMber of tHe Canadian business press
MeMber of tHe audit bureau of CirCulations
publiCations Mail agreeMent #40069240
issn 0008-2872

ichodikoff@canadianarchitect.com

8 canadian­­architect 10/08

p08 Viewpoint.indd 8

10/6/08 10:45:33 AM

7265-8_FrogAd_9x11-75.qxp

10/1/07

4:21 PM

Page 1

Solarban z50 proves you don’t have to be green to be green.
®

New Solarban z50 solar control glass is a stylish, steely blue-gray glass that blocks up to 70% of total
solar energy. That gives it a light to solar heat gain (LSG) ratio that’s up to 30% better than that of competitive
products. And that makes Solarban z50 a worthy addition to the Solarban family of solar control glass
products – and a colorful step forward for sustainable design. For your free energy analysis white paper and
glass sample, or to learn more about EcoLogical Building Solutions from PPG, call the PPG IdeaScapes
hotline: 1-888-PPG-IDEA. Or visit www.ppgideascapes.com.

Lakehead University and Moriyama & Teshima
have unveiled the first structure in Lakehead’s
new campus. This and all future buildings on the
campus will be designed and constructed to
achieve Canada’s Leadership in Energy and
Environmental Design (LEED) Platinum status.
Located in Orillia, Ontario, the Lakehead University Orillia campus will be a living model of
healthy environments, the conservation of natural resources, a high level of energy and water
efficiency, and a reduction in the production of
waste and release of substances harmful to the
biosphere. Built in three phases, it will be the
“first LEED Platinum university campus” in Canada. Chosen from a list of seven architectural
firms, Moriyama & Teshima will work with Lakehead to execute a unique design that expresses
the University’s vision of creating an enduring
campus in harmony with land, nature, site, and
context. Breaking ground in 2009, the Lakehead
University project will develop—in the next 15 to
20 years—a full range of academic programs on
this new campus, ultimately accommodating an
enrollment of approximately 7,000 students in
1.5 million square feet of new academic, instructional research, and support spaces. In addition,
residences will be built to accommodate 1,200
students. Costing $40 to $50 million, Phase I of
the project consists of an academic building
which will accommodate up to 1,500 students,
and is expected to open in the fall of 2010.
Bing Thom Architects’ surrey central city
project now complete with sFU campus
component at full student capacity.

The 2008-2009 academic year marks the completion of Bing Thom Architects’ award-winning
Surrey Central City project in Surrey, a suburb
southeast of Vancouver. Simon Fraser University’s newest campus, a component of the Surrey
Central City complex, has now launched its full
complement of undergraduate and graduate programs, an important milestone since the opening
of the innovative campus in 2006. Bing Thom
Architects’ ambitious Surrey Central City project,
a 1.7-million-square-foot mixed-use development, integrates an office tower, an existing
shopping mall and the new SFU campus, which
includes a three-storey galleria that appears to
float over the mall. The galleria roof is fashioned
out of heavy timber and resembles a tall, twisting
prow of an overturned boat. Heavy timber construction was also used as the distinguishing
characteristic for the roof over the main SFU
entry area. The university campus component of
Surrey Central City contains 322,000 square feet
of classroom and administrative space.

Centred in thunder Bay, OntariO, Lakehead university is expanding sOuth
tO OriLLia where it hOpes tO attraCt a mOre diverse range Of students with its new
energy-effiCient Campus. the mOriyama & teshima-designed BuiLding featured aBOve wiLL
Be the OriLLia Campus’s first BuiLding.

The Heritage Canada Foundation announced the
winners of its National Awards Program, Canada’s most prestigious recognition for achievement and excellence in the field of built heritage
conservation. This year’s juried award recipients
include the Town of Aurora, Ontario—winner of
the Prince of Wales Prize for Municipal Heritage
Leadership, an award created with the support of
His Royal Highness the Prince of Wales to
encourage and reward sound conservation policies and practices at the municipal level and, for
the first time since its inception, an Honourary
Mention to the Town of Saint-Raymond de Portneuf, Quebec. Julian Smith of Ottawa is the
recipient of the prestigious Gabrielle Léger

Award for Lifetime Achievement in Heritage
Conservation for his contribution to the practice
and management of heritage conservation in
Canada, and Dinu Bumbaru of Montreal is the
winner of the Lieutenant Governor’s Award for
Outstanding Achievement in Heritage Conservation at the Provincial Level for his lifetime
leadership and commitment to heritage conservation in Quebec. The 2008 non-juried award
recipients include l’Auberge Saint-Antoine in
Quebec City, recipient of a National Achievement
Award for its extensive three-phase architectural
and archaeological restoration project as well as
Senator Pat Carney (Ret.) of British Columbia
and Barry MacDonald of Chezzetcook, Nova Scotia, as the first-time recipients of the Governor’s
Award in recognition of their tireless efforts in
bringing about the recent passage of the federal
Act to Protect Heritage Lighthouses. The Heritage
10/08 cANADiAN ArcHiTEcT

p11-13 News+Ads.indd 11

11

10/6/08 10:47:07 AM

Canada Foundation is a national charitable
organization dedicated to the preservation of
Canada’s built heritage and historic places.
www.heritagecanada.org/eng/services/awards.
html#national2008
call for nominations for iNDEX:AwArD
2009.

A call for nominations has been issued for the
2009 INDEX:AWARD, an international design
awards program acknowledging designs that contribute to improvement in people’s lives. This
internationally recognized design award accepts
nominations from all design disciplines, including industrial design, service design, architecture
and graphic design. The date of the nominated
design must be after 2004. From the finalists, the
jury will award the winner(s) with a prize of
100,000 Euros at an award ceremony in Copenhagen in August 2009. Anyone can nominate
designs for the award, and nominating bodies
and individuals will be asked to address the jury’s
evaluation criteria—for example, the form,
impact and context of the nominated design. To
secure maximum participation of designers and
their relevant designs, there is no nomination
fee. All nominated designs will be featured on the
INDEX:AWARD website, and the deadline for
submission of nominations for the award is
December 8, 2008. Previous winners include
Architecture for Humanity for Siyathemba, a
soprema_canadian_architect.pdf
8/26/08
3:50:38 PM
field of hope; Tesla Motors for the Tesla Road-

Toronto-based design firm Diamond and
Schmitt Architects has won its third award from
BusinessWeek and Architectural Record magazines’
annual “Good Design is Good Business” international competition for its design of Sidney
Harman Hall, the new home of the Shakespeare
Theatre Company in Washington, DC. This competition, now in its 11th year, recognizes innovative architecture that utilizes design excellence
to help clients achieve strategic goals and objectives. Diamond and Schmitt Architects have previously won this award for the design of the
Israeli Ministry of Foreign Affairs (2004) and
the Four Seasons Centre for the Performing Arts
(2007). Sidney Harman Hall is one of only six
projects honoured from a competitive pool of 90
projects from around the world. The Hall,
opened in October 2007, has expanded the
vision of the organization in extraordinary ways,
broadening and deepening a commitment to
classical theatre while at the same time embracing all of the performing arts. The Company has
utilized the theatre’s design excellence to its
advantage, increasing the number of yearly productions and attracting a higher calibre of performer to the facility.

cOMPETiTiONs
2009 Metropolis Next Generation Design
competition.

Metropolis magazine challenges young designers
to apply their innovative talents to our energy
addiction and rethink the broken models that
represented 20th-century life and work. The
competition, which has been promoting activism, social involvement, and entrepreneurship
in design since 2003, supports and showcases
young designers’ outstanding innovations. This
year, Metropolis is taking its cues from the headlines. Rising energy costs are the focus of the
worldwide competition, which is open to all
designers in practice for 10 years or less, as well
as to students. The magazine seeks entries at all
scales of design—urban, landscape, building,
interior, object, communication—and for every
aspect of the man-made environment. As evidence builds on the economic consequences of a
fossil-fuels monoculture and the destruction of
our environment, Metropolis encourages the design community to incorporate this information
into its design solutions, to challenge our current patterns of living and working, and to come
up with ways to reconnect these daily human
functions while minimizing fossil-fuel usage.
The prize is a $10,000 award to an individual or
team, and the deadline for entries is January 30,
2009.
www.metropolismag.com/nextgen

M

Y

Y

Y

circLE rEPLy cArD 18

12 cANADiAN ArcHiTEcT 10/08

p11-13 News+Ads.indd 12

10/6/08 10:47:09 AM

wHAT’s NEw
Worlds Away: New Suburban Landscapes.

More Americans now live in suburbs than in
rural and urban areas combined. Despite this
staggering statistic, the suburbs have been
underexamined until recently, and even defining
suburbia itself has proven to be a surprisingly
difficult challenge. Worlds Away: New Suburban
Landscapes, on view in Carnegie Museum of Art’s
Heinz Architectural Center from October 4,
2008 to January 18, 2009, features more than
100 architectural drawings and models, installations, photographs, paintings, works on paper,
sculptures, and videos, created in response to
contemporary suburbia by 33 artists and architects. The suburban landscape over the last halfcentury has evolved from the mythical white
middle-class utopia of nuclear families to a place
that embraces diverse communities of new
immigrants, ethnic minorities, and households
without children. Where the suburb was once the
residential tract of homes located at the end of
the streetcar line or the “bedroom community”
of sitcom notoriety, it has been dynamically
transformed to include self-contained city-like
“technoburbs” of office parks and high-tech
research campuses and “boomburbs,” where
explosive growth creates a population size rivalling that of adjacent cities. The exhibition is
organized around three main themes: residential
areas and homes; retail, with a focus on the strip

firm employs a staff of 800, delivering services
in 17 offices throughout North America, as well
as abroad in Shanghai and Mumbai.
www.cannondesign.com

cannon Design opens calgary office.

Cannon Design has announced the establishment of its newest Canadian office in Calgary. In
response to North America’s leading economy
and trend towards P3 projects in Alberta, Cannon Design is expanding their western regional
presence in the Canadian market. The new practice will focus primarily on health care, sports,
recreation and wellness development. Cannon
Design has served the Alberta market for over 20
years, with their predecessor firm Johnston
Sport Architecture having established itself in
Calgary in 1986. The Calgary firm offers the
expertise of a specialized sports team and
experience in the P3 health-care market. The
practice is led by Doug Campbell, Vice President, an architect of wide-ranging public, commercial and residential projects and John Paulsen, a specialist in sport and recreation facilities
who lends over 25 years of managing highperformance teams in the area of planning, design, construction and operation. With their combined leadership and knowledge, the practice is
set to expand their team within the next three
months. Cannon Design’s portfolio of work in
Calgary includes an extensive range of health and
wellness projects, covering university and health
care, federal and civic initiatives. At present, the

Meet me at the Forum
Carleton University’s Azrieli School of Architecture and Urbanism
presents the Forum Lecture Series. Bringing national and international
architects to Ottawa each year, Forum educates students, faculty
and the general public about the profession, the design process
and the impact architecture has on our communities. Join us at this
year’s series for an impressive line-up of renowned speakers.

Foregrounding the reciprocity between landscape
and infrastructure, this one-day symposium
gathers a series of influential thinkers and practitioners from around the world to discuss emerging practices, paradigms and technologies that
are reshaping the contemporary urban landscape.
Re-examining the historically divisive, technocratic nature of engineered infrastructure, the
symposium will aim at formulating a more synthetic vision of urban infrastructure as a landscape that combines ecological and economic
imperatives of big cities. The penultimate objective of the symposium is to reposition the agency
of landscape architects, urban designers and
architects vis-à-vis the design of urban infrastructures for the new economy of the 21st century. The symposium will be held at the John H.
Daniels Faculty of Architecture, Landscape &
Design, University of Toronto on Saturday, October 25th, 2008 in Room 103 from 9:00 am to
6:00 pm. The event is open to the public and
attendance is free of charge.
www.daniels.utoronto.ca

NATIONAL GALLERY OF CANADA, AUDITORIUM
380 Sussex Drive, Ottawa, ON, Canada
Lectures begin at 6 p.m.
Admission is free and open to the general public.

January 19, 2009
DAN HANGANU

For more information visit arch.carleton.ca or contact us at 613-520-2855
or architecture@carleton.ca.

March 18, 2009
PETER BUCHANAN

circLE rEPLy cArD 19
10/08 cANADiAN ArcHiTEcT

p11-13 News+Ads.indd 13

13

10/6/08 10:47:09 AM

books

the diamond trade
insight and on site: the architecture of diamond and schmitt
By Jack Diamond, Donald Schmitt and Don Gillmor. Toronto: Douglas & McIntyre,
2008.

In the opening pages of Insight and On Site: The Architecture of Diamond and
Schmitt, pundit-du-jour Richard Florida begins his foreword by misquoting
the lyrics of the theme song of the television show Weeds. “Little houses on a
hillside, little houses made of ticky-tacky,” writes Florida, unwittingly
wringing the satire out of the 1960s folksong Little Boxes whose lyrics describe suburbia as “little boxes on a hillside.” The word “boxes” is what
imbues this song with its withering architectural critique: when houses are
all designed alike, they are not houses; they’re just boxes. But a pragmatist
might shrug that it’s not worth quibbling, because most architects never
bother to read the texts anyway; they just scan the pictures and bylines.
Florida, the social scientist and bestselling author who coined the buzzterm
“creative class,” is himself a brand name, and it’s hard to discern any reason for the inclusion of his brief and underwhelming preface except to
smear on the same daub of celebrity that bedazzles museum trustees.
Insight and On Site is certainly not the only monograph afflicted by this
inherent contradiction. Architectural publishing is grappling with two common and conflicting goals—one of them to make a broad, socially trenchant
statement and the other to enhance their own firms’ profiles in the global
marketplace. When these two independently reasonable goals conflate into
one architect-sponsored monograph, they cancel each other out. Herein
lies the irony: for all their high production quality and illustrious subjects,
the new genre of books often seems to be as formulaic and self-important
as the architectural culture they decry.
In this context, Insight and On Site is not a bad monograph but a typical
one, and a proviso of just how difficult it is for any architectural firm to walk
the line between elucidation and self-aggrandizement. Mere documentation of a studio’s work is dull and solipsistic. Attempting to position one’s
work in the context of world issues is one way around it, but it can backfire.
In the essays of Insight and On Site, grandiose statements in oversize type
blare out from the pages, such as this: “The planning and building of cities
has never been more crucial because today’s issues are not focused merely
on aesthetics but on survival.” Splayed out over an entire page, such an
assertion reeks of disingenuous sanctimony. Global survival has always
figured hugely among the issues of the day, ever since our ancestors flopped
out of the primordial slime to face bouts of starvation, plagues and warfare.
For that matter, there is nothing “new” or unique about architecture that
pays attention to context, sustainability, community and creativity, Richard
Florida’s preliminary assertion notwithstanding.
The past century’s transitional periods—Neoclassicism to Modernism and
then Modernism to Postmodernism (or, for that matter, right back to the
Ten Books of Vitruvius) were natural opportunities for an honest-to-god
manifesto, whether you agreed with it or not. Thus Le Corbusier’s Vers une
Architecture and, almost 50 years later, Venturi’s Complexity and Contradiction in Architecture both exuded a true sense of urgency and relevance, even
though offering ideologically opposing arguments. Back then, architects did
not feel the need to festoon their manifestos with celebrity endorsements or
lavish photography, and yet they made a resounding impact just the same.
The Diamond & Schmitt argument is that architecture should neither fall
prey to the current culture of celebrity nor to the cult of beauty. But its popcultured foreword and its exhaustive display of its own projects in lavish
full-page bleed argue otherwise.

On a bright note, the prose itself does not succumb to the doltish and
grammatically suspect bafflegab of so many architectural treatises. The gifts
of co-author Don Gillmor, one of Canada’s most talented magazine writers,
have no doubt been well harnessed here, and Witold Rybczynski serves up
some clear and straightforward interview questions. And much of the architecture is programmatically impressive if not often sexy: Diamond &
Schmitt is justifiably renowned for good urbanism, consistently highquality background buildings and the occasional subdued feature building,
such as Toronto’s Four Seasons Centre for the Performing Arts. It’s no
crime—an oblique compliment, actually— to say that their work will never
be mistaken for celebrity architecture. Their importance in city-building is
widely recognized across Canada. But it’s irksome to go through the book’s
concise analyses and small black-and-white photos of “iconic” structures
(such as Bucky Fuller’s geodesic dome and Libeskind’s ROM extension),
and then suddenly get blasted by page after page after page of huge colour
photographs showcasing Diamond & Schmitt projects of much lesser
renown. The thoughtfulness of their argument against iconism is unfortunately swept away in this tsunami of self-promotion. Maybe they need two
separate books, or a more even-handed graphic design, or a more ruthless
photo editor. In an inherently awkward hybrid—“part manifesto, part
monograph” as the jacket blurb asserts—it’s hard to avoid mixing the message. One day, we might see architects reach a point of quiet power, wherein
their discourse will be unclouded by the market-driven need for renown.
Until then, sic transit gloria mundi: take comfort that all those vacuous celebrity creations won’t stay famous forever. ca

14 canadian architect 10/08

p14 Books.indd 14

10/6/08 10:48:01 AM

CirCle reply Card 20

p15 BinationalTourism ad.indd 15

10/6/08 10:48:28 AM

enrico dagostini

repOrt

Lean and Green

the canada green Building council’s First
summit in toronto this past summer might
amount to little more than greenwash as
we look toward more tangiBle results oF
sustainaBle design.

text

maryBeth mcteague

The first summit of the Canada Green Building
Council (CaGBC) held in Toronto in June was
sold out, attracting 1,200 participants representing a broad range from the building industry as
well as government, utility and corporate finance
officials. The summit could not have been more
timely with the announcement the previous week
of substantial layoffs at General Motors’ Oshawa
factory and reports of the disappearance of the
honey bee. The simultaneous launch of
www.planetgreen.com and the first independent
“green” television network in the US is another
indicator that the sustainability movement is
currently riding a wave of public and corporate
awareness. The summit theme of “Shifting into
the Mainstream” was clearly appropriate.
Founded in 2001, the CaGBC (www.cagbc.org)
has the express intent of promoting the building
industry’s potential to cut energy use and significantly reduce greenhouse gas emissions and pollution, and to conserve water and finite resources. They have set a target of energy and water
reductions of 50 percent in over one million
homes and 100,000 businesses by 2015, and to

aBOVe, LeFt tO riGht the recently completed dockside green in Victoria, Bc is north america’s First leed platinum multi-Family housing project; the peaceFul waterway surrounding dockside green’s townhouses relies on rain-water collection; 100 percent oF
dockside green’s waste water is treated on site, some oF which is used For Fountains and other designed water Features.

have carbon-neutral buildings by 2030. The
Council has adapted the US Green Building
Council’s system of LEED (Leadership in Energy
and Environmental Design) for rating the sustainability of buildings as well as providing a
green credential through the LEED AP certification exam. Rating systems have been developed
for single-family houses, multiple-family dwellings, mixed-use buildings, commercial buildings
and institutions. Recent additions include the
Green Building Performance Initiatives to improve the performance of existing commercial
and institutional buildings as well as assessments
for neighbourhood development, leased space,
campuses and multiple buildings. LEED ratings
address issues of climate change through energy
consumption, resource depletion (materials), air
quality, water efficiency, sustainable siting and
location, as well as innovation and design. LEED
is being redeveloped to include the life cycle of
buildings, carbon footprints, and other categories such as social equity and respect for community and culture. There are currently 3,609
accredited professionals and more than 400
registered projects in Canada.
The CaGBC was modelled on the US Green

Building Council which now has 15,700 member
organizations and 74 chapters. Twenty-five states
and 100 cities and municipal councils are now
using LEED standards for their buildings. There
are 53,000 accredited professionals and over
25,000 buildings registered or in line for registration with LEED. Most recent is the inauguration of the World Green Building Council which
has 70 members including China and India.
Kevin Hydes, CaGBC chair, spoke of the commitment to protect the three sacred elements of
water, land and air, to inspire best practice in the
building industry, and to recognize that as this
industry employs 100 million people worldwide,
there are significant challenges and goals for
achieving global sustainability. Unlike Canada,
China has introduced a mandatory energylabelling system for all new buildings. One of the
key issues being addressed is fragmentation in
the building industry, which is a barrier to the
integration of sustainability.
The summit was preceded by the CaGBC’s sixth
annual education day for “greening the curriculum” for post-secondary education. It was emphasized that as with buildings, sustainability has
to be integral to the curriculum and not merely

16 canadian architect 10/08

p16-18 Report-CAGBC.indd 16

10/6/08 10:48:50 AM

enrico dagostini

tacked on as an extra. McGill University’s Daniel
Pearl, a founding member of the CaGBC, articulated that sustainability needs to be part of any
ethically responsible curriculum. The theme of
an integrated design process underscored the
presentations, indicating that collaboration by all
team members from project conception is essential to achieving sustainability in every facet and
at every stage of a project.
Keynote speaker Trevor Butler of the aptly
named UK firm Archineer, emphasized team and
community collaboration in his work with BDP
(Building Design Partnership) and in projects
with Richard Kroeker at Dalhousie University,
where an integrated design approach has resulted
in the Pictou Landing Health Centre and the Yellow Pages Building. Butler was one of several
speakers to state that sustainability was as much
about reducing carbon footprints as it was about
sustaining community and culture and the creation of beauty.
Paul van Geel spoke of Carleton University’s
commitment to the integrated design process
through the restructuring of its curriculum to
create core courses based on sustainable principles, which are to be taken by both architects and
engineers. Wendy Wilson, a Fanshawe College
English teacher, enlisted multidisciplinary students to collaborate on a sustainable building
book. Ted Rosen reported that in 2006, Centennial Community College relaunched its architec-

tural technology program with sustainability
integrated into every facet of the curriculum.
Students have increasingly taken a lead role, and
Arlene Gould of York University reported a
student-initiated retrofit of a campus building
which was integrated into course work. Chantal
Cornu of the University of Waterloo led other students in the Grand House Student Co-operative
project which took the work of Rural Studio as its
precedent. The project process involved working
with the community and local builders, and provided on-site training and work for the locally
unemployed.
The main summit sessions were devoted to
reports from various client groups, developers,
builders, government and utility bodies on their
sustainable initiatives and their experiences with
LEED. These included Toronto Mayor David Miller, BC Minister of Housing Rick Coleman, and
Gerry Rose, representing Manitoba Hydro, which
introduced smart meters as early as 1989.
The summit’s co-chairs, Michael Brookes of
the Real Property Association of Canada and Alan
Greenberg of Minto, a development corporation
whose interests in sustainable developments
stretch back to the Innova House in 1992, celebrated with other corporate representatives
regarding their various successes in achieving
LEED status. They all agreed that sustainability is
a necessary tool for reducing costs as well as
marketing purposes. It is also part of the new

Vince klassen

corporate ethic of social responsibility which has
a triple bottom line of economic, ecological and
social factors.
This was evident in the heartfelt statements of
developer Joe Van Bellegham of Windmill West
and Three Point Properties, who revealed how
the experience of working on Victoria’s Dockside
Green had changed his values. Dockside Green
will save 70 million gallons of water a year and
provide new community opportunities. Rediscovering a new sense of purpose, Van Bellegham
encouraged banks not to lend to non-ecological
projects, architects to refuse clients who are not
embracing ecological principles, and politicians
to muster the courage to take a stand.
Peter Busby of Busby Perkins + Will and current chair and founding member of the CaGBC,
sets a high standard for architects in his commitment to sustainable practice in Vancouver. His
range of projects extend from Vento, the first
LEED Platinum multi-family housing project in
North America, to Dockside Green, the first carbon-neutral community development in Canada,
to the EcoDensity Project—which through the
strategic use of a reconfigured public transport
system and changes in zoning—could dramatically decrease the per capita carbon footprint of
Vancouver.
Throughout the presentations, problems with
LEED were cited, such as the limits inherent in
the scoring and the need to provide credits for
10/08 canadian architect

p16-18 Report-CAGBC.indd 17

17

10/6/08 10:48:53 AM

enrico dagostini

other sustainable features such as passive ventilation. The cost and difficulty of achieving LEED
certification could be prohibitive. For example,
when the cost of certification for a community
recreation centre was estimated to be $100,000,
the client, a government body, chose to divert
those funds to other more pressing needs.
Another difficulty is understanding the differences between LEED and other systems such as
R2000, Energy Star and the Net Zero Energy program. Energy Star as a product is more widely
recognized by the general public. A further difficulty is that the Canadian Home Builders’ Association does not support LEED for homes. It is
hoped that in the interest of clarity as well as
public recognition, these different systems might
be integrated into a single entity. At the institutional and commercial level, there is a call for
greater emphasis on monitoring post-occupancy
building performance to determine if LEED criteria are being met, and the need to educate
building managers and occupants. Others argue
there should be more government incentives
such as tax abatements, density bonuses or planning trades for sustainability initiatives. There is
the question too of the significance of LEED
given that to achieve LEED certification, a project
only needs to achieve 26 out of 70 points, and for
Platinum status, 52 out of 70 points.
While the politicians emphasized political
goodwill in their commitment to the goal of fighting climate change, most others speakers—and
indeed one whole session—focused on the economic payback, indicating that without this, the

incentive would be lacking to pursue a sustainable agenda. The wind was completely taken out
of their sails by the electrifying, intelligent and
compelling presentation by Dr. David Suzuki,
who demanded that the economic parameters be
redefined, reminding us that economics and
ecology have the same root word “eco” from the
Greek oikos meaning “home.” He was astounded
that green buildings still have to be justified on
economic terms, when the crux of the matter is
the effect on nature itself. The problem is the
perspective, which sees humans as the most
important thing on earth, and continuous economic growth as the primary goal not only of
business but of government. He challenged us to
find the sense of urgency in this current crisis,
which in the past has led to effective action in
meeting such crises as Pearl Harbour and the
space race. “How much stuff do we need?” he
exclaimed, stating that it was suicide to cling to
current notions and policies of growth when we
are currently facing 1,000 ecological Pearl Harbours. The impact on the audience was best summarized by Alan Greenberg’s response to one of
Suzuki’s metaphors, “Now I feel like bacteria!”
How do we sustain that moment of revelation,
a kind of baptism into new life and perspective,
and not let it subside into just another instance of
more greenwash? How is it to be a significant
tsunami and not just a market-driven tide of
fashion? Because we have been here before with
the 1987 Brundtland Report defining sustainability, the 1988 Toronto Global Warming conference, and in the wake of the OPEC oil crisis, the

the spectacular Views aFForded
From dockside green’s rooFtop terrace.

aBOVe

1977 Franklin Report urging Canada to invest in
renewable energy. Instead, Canada is currently
the biggest per-capita energy consumer in the
world. The week after the conference The Globe
and Mail reported on the results of the quarterly
C-Suite Survey, which indicates that in contrast
to 2007 results, the business community does not
see climate change as very important or very
urgent. As the 2008 G8 summit opened, early
reports indicate that only Canada and the US are
unwilling to agree to set mid-term targets for
reducing emissions.
These current realities underline the necessity
of the conference theme, “Shifting into the
Mainstream.” The CaGBC has created two frameworks within which sustainable building can be
achieved. Perhaps these initiatives should no
longer be voluntary but mandatory, building
codes should be veritably green, and professional
accreditation for schools and practitioners
should be granted only when sustainable targets
have been met. In his closing remarks, conviction and urgency breaking his speech, Thomas
Mueller, President and CEO of the CaGBC, urged
that without the implementation of policies and
practices, the consequences would be dire. ca
Marybeth McTeague is an architect, architectural
historian and a member of the CaGBC. She teaches at
the University of Toronto and Ryerson University.

18 canadian architect 10/08

p16-18 Report-CAGBC.indd 18

10/6/08 10:48:55 AM

60234_CAM.qxd

8/12/08

10:10 AM

Page 1

Job-site Installation Problem #1
Failure to thoroughly clean surface of frame
leads to poor adhesion of stick on door seal
which causes it to separate from the frame.
With Timely, you avoid call-backs.

A centre For Fossil reseArch And displAy
in Joggins evokes the historicAl And geogrAphicAl context oF the region, recently
designAted As A Unesco world heritAge
site.
Joggins Fossil Centre, Joggins, nova sCotia
whw arChiteCts inC.
text John leroux
photos Craig mosher
proJect

Architect

When does the inspiration for a great building’s design truly begin? Does its
genesis lie within the web of initial programming and budgetary constraints, or is it a physical embodiment of purpose and spirit of place? In
the case of the Joggins Fossil Centre on Nova Scotia’s Bay of Fundy coast,
the inspiration has been over 300 million years in the making.
The Joggins Fossil Cliffs, Canada’s most recently designated UNESCO
World Heritage Site, consists of the powerful geological edge between the
mighty Bay of Fundy and the sleepy town of Joggins, a once-thriving coalmining community. The sloping cliffs are the world’s most comprehensive
fossil record of life during the Carboniferous period, better known as the
Coal Age, between 290 and 360 million years ago. As the world’s highest
tides consistently pound the rock face, the incessant erosion periodically
reveals new examples of fossil life within the stratified layers. This everchanging state makes the 16-kilometre-long fossil cliffs a world-renowned
and active destination for scientists, paleontologists, and those who simply

20 cAnAdiAn Architect 10/08

p20-24 Joggins.indd 20

10/6/08 10:49:52 AM

love to stroll the stunning location.
WHW Architects of Halifax were selected as the prime consultants, and
were given a rare opportunity that began as a genuinely blank slate. Rather
than having a program dictated by the client, the architects were encouraged
to determine the best building solution through dialogue and discussions
among the local stakeholders and the wider design team which included
environmental engineers, archaeologists, a business planning consultant,
and interpretive planners and designers. The ensuing theme of “The Power
of the Cliffs” became the underlying concept of the Centre’s architectural
solution and the stimulating interpretive displays within. The theme was
expanded into three interconnected sub-themes that established the project’s design direction: Cliffs—rock, massive, angular; Time—300,000,000
years of time, inexorable and linear; Water—life-giving, erosion-driving,
swirling.
While such a rich site narrative had the potential to overwhelm the archi-

visitors Can look right through the new
Fossil Centre and out toward the Bay oF Fundy; the new inter­
pretation Centre’s low­rise proFile and green rooF Blends into
Joggins’s agriCultural maritime landsCape.

opposite, leFt to right

tectural solution or promote an egocentric building that would dominate the
landscape, the Centre is exceptionally well executed in scale, material and
metaphor. The single-storey building face that welcomes the public is an
angled surface clad in local olive-brown Wallace sandstone, mimicking the
similarly sloping fossil cliffs rising from the rocky beach below. While the
other façades combine grooved wood siding (in a similar olive-brown tone
and inclined pattern) with extended horizontal ribbons of aluminum windows, they are equally successful in their dialogue with the cliffs. By using
layers of varying clapboard widths with deep shadow reveals, the design
establishes a playful and suitable cladding language that speaks to the geol10/08 cAnAdiAn Architect

p20-24 Joggins.indd 21

21

10/6/08 10:49:54 AM

ogy underfoot as well as to the local building tradition of wood siding.
The chronicle of the site also includes substantial coal mining, an industrial history which is intimately connected to both the region’s fossil abundance and the saga of the town itself—from populated prosperity to the
more recent obsolescence and exodus. The mines existed from the mid17th century until 1961, and the cultural/physical legacy of the site’s extraction of coal is closely tied with the geology of the cliffs. With this tradition
in mind, the tectonic language of the Centre’s heavy-timber entrance canopy and lobby roof evokes the post-and-beam mining structure that once
stood in this very spot, following the strata of the underground coal seams.
The remarkable and long demolished construction held back subterranean
stone walls, culminating above grade in an angled wooden mine-head
framework that resembled a Coney Island rollercoaster from a century ago.
Ron Burdock, the project’s design architect, fittingly states that “the

top, leFt to right the new Joggins Fossil Centre is perChed high
aBove world­Famous Fossil­laden CliFFs; visitors Can enJoy
views toward the Bay oF Fundy while attending events in the
new multi­purpose room. ABove, leFt to right museum installations
help make the experienCe oF learning aBout liFe during the Car­
BoniFerous period Captivating For all ages.

building is the first ‘cliff’ that visitors see when they arrive in the village, at
first hidden and then revealed, just as the cliffs are. Situated so as to form a
portal to the beach where the fossils can be seen emerging from the cliffs
above, the cliff form of the centre splits—as if it were a geological fault—to
offer an entrance.”
The plan of the building is simple and appropriate, with the entry and
main corridor forming a long angled axis or “fault line” with the spaces for

22 cAnAdiAn Architect 10/08

p20-24 Joggins.indd 22

10/6/08 10:49:57 AM

the angled walls oF the new Fossil Centre were inspired By
the layered roCk CliFFs Beyond. ABove, leFt to right green rooFs
and photovoltaiC panels help ContriBute to the sustainaBility
oF the proJeCt, in addition to lowering operating Costs.

top

year-round use on one side (offices, labs) and seasonal spaces for public
use on the other (exhibit rooms). This allows the building to be zoned for
efficient climate control when public demand is low. As a counterpoint to
the mainly rectilinear lines of the building footprint, curved walls form
swirls and eddies along the lobby, animating the spaces where visitors and
the Centre staff interact, such as the gift shop and café. In Burdock’s view,
these suggest the organic forms of the fossils preserved in the stone, as well
as the flow of water—a substance “that gave rise to life, brought the sediments that laid down the fossils and, through the action of the Bay of Fundy

tides, exposes the fossil record.”
With the environmental and economic realities of the locally owned facility, of great importance was the integration of alternate energy technologies
which will provide up to two-thirds of the Centre’s energy needs. The architects also embraced the ironic chance to revisit how fossil fuels were used in
an interpretive centre for Coal Age fossils. Green strategies include a vegetated roof, recycled materials, a 50-kilowatt wind turbine generator, a solar
water-heating system, waterless urinals and Solera glazing in the high north
and south walls that diffuses daylight, reduces glare, protects the collection
from high light levels, and provides improved insulation performance.
A conscious direction of avoiding superfluous finishes was followed; a
strategy that minimized cost, material use and embedded energy. These
include an exposed steel truss roof system within the exhibition areas and
exposed concrete floors. The latter has two sets of local creatures’ fossil
10/08 cAnAdiAn Architect

John Leroux, AANB, MRAIC is an architect and journalist based in Saint John, New Brunswick.

9
6

3
1

2

4

4
4

Floor plAn

tracks sandblasted in the slab, much to the
delight of visiting children.
In 1836, noted geologist and inventor of kerosene Abraham Gesner called the Joggins Fossil
Cliffs “the place where the delicate herbage of a
former world is now transmuted in stone.” It is
entirely fitting that WHW Architects have taken
the essence and wonder that absorbed Gesner
over 170 years ago to similarly transmute the
ancient world of stone into a contemporary and
vibrant work of architecture. As one of the
world’s only locally owned and operated UNESCO
World Heritage Sites, the Joggins Fossil Centre
recently received a Nova Scotia Association of
Architects’ Lieutenant Governor’s Medal of
Excellence, and is apt to capture many more honours in the near future. cA

It’s probably safe to say that some of the more
interesting architectural practices in existence
today are led by individuals who combine professional practice with teaching and academic life.
The Marc Boutin Architectural Collaborative is
no exception, with Marc Boutin enjoying the best
of both worlds in balancing academic pursuits as
an Associate Professor of Architecture at the
University of Calgary Faculty of Environmental
Design with practice as the principal and founder

of the Marc Boutin Architectural Collaborative
(MBAC). A small design studio that actively
explores cultural issues related to the contemporary city, MBAC is involved in a broad spectrum of projects of varying scales, but a significant portion of the practice centres on residential
design.
Here, four houses illustrate an ongoing process
that the collaborative continues to evolve, and
through which a narrative can be traced. The

conceptual drive behind these houses is the
notion of anticipatory infrastructure or an openended formal neutrality in the design, an
imprintability that accepts rather than dictates
the activity within. This conscious neutrality is
like a blank canvas, and the architecture becomes
a conduit for the understanding of phenomena
rather than a mere representation of it. Having
moved to Calgary over a decade ago, Boutin has
been struck by the potency and dynamism of the
endless prairie sky. He describes it as a living
thing, the shifts in light, shade and colour that
have a transformative effect on architecture. To
maximize this expression of Western Canadian
climactic phenomena, Boutin has employed an
intentionally restrained formal strategy of orthogonal geometries, planar elements, and simple
overlapping volumes, in keeping with elemental
Corbusian gestures of open floor plans with
double-height living spaces and large expanses of
glazing. In Boutin’s view, the dictatorial constraints of an overwrought, fetished and convoluted architecture do not permit the subtle
unfolding of environmental phenomena and the
natural rhythms of human activity.
Located on 72 acres of pristine land dotted
with fir and pine trees, the Frame House is a
family home perched on a ridge above the town of
Invermere, British Columbia. As its name would
suggest, the house in essence operates as a massive frame capturing the spectacular and majestic
view of the mountains. There is an obvious
dichotomy between the opaque, solid and impervious quality at the rear of the house and the
completely open transparency of the front, as it
turns its back to the noise and traffic of the highway to the north while celebrating the landscape
to the south, encouraging visual and physical
interaction with the outdoors through an operable glazed façade. Unlike the houses of Canadian
practitioners Ian MacDonald and the Patkaus, the
house makes no attempt to embed itself into its
site as an organic outcropping: instead, it proudly
stands as an object in the landscape, presenting a
monolithic and powerful statement in its rugged
natural context.
In fulfilling the clients’ desire for a house that
brings the family together, MBAC’s design solution offers a straightforward plan with sufficient
openness and flexibility to accept change and
adaptability over time. The design also draws on
the imprintability notion, creating a neutral
background that draws meaning through the continuously shifting conditions of site and place.
Conceptually, three formal gestures define the
project: after careful analysis of the property, a
cut into the ground establishes the siting of the
house; a hard landscaping surface forms a “liner”
for the project, acting as a threshold between
interior and exterior space while strategically

28 cAnAdiAn ArcHitect 10/08

p28-33 Boutin.indd 28

10/6/08 10:52:48 AM

opposite A wALL of opeRAbLe gLAzing opens onto the expAnsive deCk of the fRAme house
in inveRmeRe, bC And CAptuRes views of the speCtACuLAR mountAins in the distAnCe.
AboVe the ReLAtive opACity of the noRth eLevAtion of the fRAme house is viewed AgAinst
the vAst westeRn CAnAdiAn sky. rigHt A view of the fRAme house stiLL undeR ConstRuCtion iLLustRAtes the ConCRete And stone foundAtions undeRpinning the wood undeRbeLLy of the hoveRing two-stoRey mAss. bottom rigHt A modeL of the house suggests the
entiRety of the stRuCtuRe in the Context of its gentLy sLoping site.

positioning outdoor recreational spaces to receive the sun; and lastly, a hovering two-storey
trussed frame gathers the program spaces into a
single volume, visually connecting them all to the
surrounding landscape through the vast glazed
curtain wall.
Public and private considerations are explored
in the spatial relationships of the house; as such,
the master suite is located on the uppermost
mezzanine level, overlooking the double-height
public living/dining area, and the children’s bedrooms also enjoy a degree of privacy, grouped in a
cluster at the eastern wing of the house’s main
floor.
Clad in stained cedar siding, the prominence
of the frame is enhanced by the deep overhang on
the south façade, which permits low winter sun to

illuminate and warm the depths of the house in
the cold dark months while protecting the interior from excessive solar gain during the summer.
Operable windows and skylights provide plenty
of natural ventilation, as do the 18-foot-high
sliding doors connecting interior and exterior
social spaces on both the main and lower levels,
which open to the outdoor patio, swimming pool,
hot tub and the mountains.
A precursor to the Frame House was the Truss
House, which was commissioned as a full-time
home for a writer on Pender Island, British Columbia. Incorporating the notion of anticipatory
infrastructure, the house was designed with sufficient flexibility to accommodate the writer’s
son and her grandchildren during the summer
vacation season. From a philosophical desire to
10/08 cAnAdiAn ArcHitect

p28-33 Boutin.indd 29

29

10/6/08 10:52:51 AM

the entiReLy gLAzed fRont fAçAde of the fRAme house is oRiented to CAptuRe optimAL
southeRn Light As weLL As the pRedominAnt mountAin view. AboVe mAteRiAL Continuity
AppARent in the CedAR siding extending fRom the inteRioR wALL suRfACe to the exteRioR
CLAdding of the deep oveRhAnging fRAme emphAsizes the integRAtion of inteRioR And
exteRioR spACes. beloW A RendeRing indiCAtes the ConCeptuAL stAges of the design: A
Cut into the gRound estAbLishes the siting of the house, foLLowed by the ConstRuCtion of A hARdsCAped LineR, And finALLy, the RAised two-stoRey fRAme thAt CAptuRes distAnt views.
top

explore the relationship between technical and
formal ideas, the conceptually intriguing idea of
the inhabited truss emerged. The client’s wish to
preserve all trees and natural vegetation on this
remote site meant a minimally invasive approach
and the development of the simplest of structures—four columns support this inhabited truss,
lifting the mass off the ground. The seductively
clean design speaks clearly of the building’s
technical framework and the function of the
truss.
Characterized by magnificent arbutus trees,
rocky outcroppings and a view of the ocean, the
Pacific Northwest landscape is acknowledged in
this project, and view-framing devices are
developed throughout. Sectionally, three data are
addressed in the design: the contained upper
volume is focused on the distant view of the
ocean; clerestory windows and a louvered skin
horizontally frame the verticality of the tree
trunks on three sides of the ground floor; and the
fourth elevation is oriented towards one giant
arbutus tree in particular, while also directly
engaging the immediate ground cover of rock,
bark, moss, water and earth.
Sadly, though the project was never built, the
wood model and drawings featured here are
illustrative of the rigour that MBAC applies to the
design process. For the Truss House, the process
included an impressive array of tectonic study
diagrams, site plan analyses and sectional drawings that serve to clarify the conceptual intent
underlying the design. Furthermore, in a time
when firms rely more and more on increasingly
sophisticated software programs that result in
strangely synthetic renderings of buildings, the
collaborative still builds cardboard and wood
study models, not only as an effective communication device for clients but as an authentic way
of developing a process from which the real
effects of light, shadow and form emerge. Moreover, the monochromatic qualities of the models
retain and convey the purity of form most effectively, particularly in the increasingly complex
formal strategies employed in the subtractive
carving-out process to create solids and voids,
positive and negative space, and the integrative
relationships between interior and exterior.
This subtractive manipulation is seen in the
Sims House, located in an inner-city Calgary
neighbourhood. Designed for a couple and their
two children, the house was conceived as a box
containing private spaces for family life on the
top floor while also incorporating more extroverted spaces in the main-floor program. Consequently, the volume is manipulated through a
subtractive and sometimes additive process,
where strategically placed erosions and extrufrAme House, inVermere, britisH columbiA

teCtoniC study diAgRAms iLLustRAte notions of An inhAbited tRuss; A wood modeL of the tRuss
house ReveALs the eLegAnt simpLiCity of
the stRuCtuRe; A site pLAn of the tRuss
house suggests the dynAmiC topogRAphy And Remoteness of the site;
seCtionAL study dRAwings indiCAte
the desiRe to pReseRve ALL nAtuRAL vegetAtion on the site thRough the quAsiCoRbusiAn notion of piLotis thAt Lift the
stRuCtuRe off the gRound.
rigHt, top to bottom

sions in the form create visual connections and
linkages between the spaces. Devices like the
skylit double-height atrium over the dining area
bring light deep into the interior of the house,
and strategically placed openings create framed
views of the enclosed gardens and connections to
the vivid and constantly changing sky.
Stacking the larger comparatively solid mass of
the second-storey box on top of the smaller
transparent one effectively frees up additional
public space underneath, creating three walled
gardens, one at the front of the house and one at
the rear, and a sizeable south-facing courtyard
garden running parallel to the length of the
house. As the façades of the ground floor are primarily glazed, its parameters appear dematerialized, further contributing to the illusion of a hovering or levitating upper-floor volume, while also
increasing the connection between interior and
exterior space.
As Calgary’s building costs were rapidly escalating during the period of the house’s construction, any extraneous features were stripped from
the design. MBAC’s strict adherence to the established budget meant a brutally straightforward
design, the result of which is “a ruthless expression of the house,” according to Boutin. Nevertheless, the house reads as an elegant composition whose simplicity of form is enhanced by a
sophisticated and contrasting materiality of concrete, wood, glass and fabric.
Located in the Elboya neighbourhood in southwest Calgary, the Mahallati Lazar House represents, in many ways, the culmination of the formal subtractive strategy employed in many of the
earlier houses. While the project has already broken ground, completion is not anticipated until
late next year. Where budget constraints kept the
Sims House fairly simple and straightforward,
the volumetric manipulation in the Mahallati
Lazar House is somewhat more complex. It is also
the most evolved in terms of material use,
exploration and strategy: instead of wood cladding, concrete panel not only wraps the house but
folds into it, creating strategically eroded voids
that connect the interior spaces to the front and
rear yards, and again to the sky. In a complementary gesture, wood millwork has been designed to integrate with the concrete folds, fur-

tectonic study

3

5

2
1
4

site plAn
1
2
3
4
5

0

50’

existing house
view CoRRidoR
ACCessibLe LAnd within the pRivACy beLt
CARpoRt
pAth to house And hiking pARk At
south end of pRopeRty

entRy into the sims house is sheLteRed by the oveRhAnging seCond
stoRey Above; the extensive gLAzing on the gRound fLooR of the sims house demAteRiALizes its foRm, CAusing the ReLAtive soLidity of the seCond fLooR to dominAte; the skyLight Above the doubLe-height dining Room offeRs pLenty of iLLuminAtion fRom the Living CALgARy sky; A ReAL 3d modeL of the sims house in monoChRomAtiC tones ALLows
foR gReAteR CLARity And puRity of foRm.

clocKWise from AboVe

ther delineating the house’s interior spaces, pulling the project into a cohesive whole. MBAC have
artfully composed opaque and transparent
façades that accommodate both privacy concerns
and the clients’ desire for abundant natural light.
The home is designed for a family of four, with
two busy professional parents. Unconventionally,
the house is not viewed as a transitional residence with a view towards downsizing and
relocation at retirement, but as a house in which
the owners can age in place, and where the func-

tions of the spaces within will morph accordingly. The anticipatory infrastructure was established with the clients early on in the project, and
diagrams indicate how the spaces will change
over time. The crystallization of this idea happened several years earlier, when, as the winner
of the Prix de Rome in Architecture in 2002,
Boutin’s experience of living with his family in an
apartment in Rome’s Trastevere district taught
him valuable lessons in spatial transformation.
Comprised of four large equally sized rooms, the

1

2

3

3

5
6

4

upper floor
1 mAsteR bedRoom
2 mAsteR ensuite
3 mezzAnine/LibRARy

5

1

5

4 offiCe
5 bedRoom
6 wAshRoom

2

3

4

5
6

5

mAin floor
1 pAtio (CoveRed by
fLooR Above)
2 Living AReA
3 dining

1

0

5m

4 kitChen
5 gARden
6 wAshRoom

32 cAnAdiAn ArcHitect 10/08

p28-33 Boutin.indd 32

10/6/08 10:52:59 AM

apartment enjoyed a variety of view orientations
and qualities of light. The democratic quality of
the spaces possessed an implied flexibility,
where the work studio and bedroom also functioned as playrooms for Boutin’s three young
children, and where the living room also accommodated dining functions for the family. Boutin
learned that migration across spaces and temporally variable uses were feasible if the spaces
were designed properly, taking into account size,
orientation and infrastructure. A spectrum of
spaces—from social to public to private—can
therefore accommodate shifting needs.
Consequently, flexibility, imprintability, and a
gregarious generosity of space is designed into
the Mahallati Lazar House from the very outset.
Twenty years hence, once the children are grown
and the clients become empty nesters, the downstairs zone currently identified for work functions will absorb more general living functions,
while the additional bedrooms upstairs can
become a work space. The intent is that given the
open-ended flexibility of spatial use, people will
be able to imprint themselves on and take
ownership of the architecture, rather than the
other way around.
The work of the Marc Boutin Architectural
Collaborative represents another approach to
Canadian architecture that is perhaps less siteobsessed than other prominent boutique architecture firms. In contrast to the sexy manipula-

thRee RendeRings of the mAhALLAti LAzAR house ReveAL the most CompLex mAnipuLAtions yet in the subtRACtive pRoCess of eRoding the Cube. bottom viewed within the
pARAmeteRs of the buiLding’s uRbAn site, AxonometRiC dRAwings fRom fouR diffeRent
oRientAtions ReveAL the foRmAL mAnipuLAtions AChieved thRough CARving voids into
the oRthogonAL voLume.
AboVe

sectionAl studies

tions of section so prevalent in the previous decade, Boutin’s approach is more universal in its
quest for an architecture that behaves as a catalyst
for human activity and life, an architecture that is
not finite or prescriptive, but one that accepts
constantly shifting functions and meanings. cA

No matter if itâ&#x20AC;&#x2122;s a Winnipeg winter, the blazing desert sun of Arizona or the driving
rain of Vancouver B.C., US Aluminum builds world class commercial glazing systems
to withstand whatever harsh conditions Mother Nature dishes out.
Our products are engineered to the highest standards, pass the toughest Canadian
industry tests and have one of the most comprehensive warranties in the business.
We apply more than 50 years of experience to the design and
manufacturing of our products, and that translates into exceptional
quality and energy saving performance in everything we do.
Give us a call or visit our web site to get the complete picture.

A MontreAl skAte pArk continues to evolve into An iMportAnt
public spAce for the city.

teXt

DAviD theoDore
J. p. Grenier

PhOtOS

aBOVe, tOP tO BOttOM An initiAl renDerinG of the new pArk which
wAs eventuAlly reDuceD in size Due to sAfety concerns; the
DerivAtion of the skAte pArk’s finAl proGrAM AnD DesiGn wAs
AchieveD throuGh the help of locAl skAters. OPPOSite A skAteboArDer tries out the new skAte plAzA unDer the JAcques
cArtier briDGe.

The new skate plaza under Montreal’s Jacques Cartier Bridge has been a victim of skateboarders’ unreasonable expectations, and a troubling misunderstanding of the architect’s role in public projects. Designed by Atelier
Big City, this 1,000-square-metre concrete landscape potently signifies the
city’s willingness to make a place downtown expressly for young people. It is
the first municipal park that skateboarders, BMX riders and inline skaters
can use legally. But it had a difficult genesis and absurdly indignant reception from the very people it was built for. Why?
At the root of the controversy is a relationship between the Modernist
dream of fluid urban movement and the perceived danger of public areas.
As shown in films such as Larry Clark’s provocative Kids or Spike Jonze’s
classic Video Days, we associate skating with violence, criminal activity and
trespassing. Skateboarders zoom through the city as if every place were
public space: walls, stairs, curbs, sidewalks, handrails, flowerpots, streets,
parking lots. In other words, in an era of bland and branded public space,
skateboarding tests the limits of acceptable urban behaviour.
The basic story goes like this. Montreal hired Atelier Big City to find a
location downtown suitable for a skate plaza. The firm catalogued over 60
sites. A promising location bridging the underground Ville-Marie Expressway was rejected even after positive public consultations. Finally, the city
designated a vacant parking lot dramatically poised under the Jacques Cartier Bridge.
Big City then won the commission to design the actual plaza, too, and
included a skate consultant as part of their design team. About a month into
the six-week design phase, this consultant, a Montreal-based group called
Grind, quit the project. Another skater, Martin Gagnon, offered to help,
specifying precise details on how the skating features should be designed:
thicknesses, heights, angles. Nevertheless, the rumour persists, repeated
often in the press, that there was no expertise on the project—and that there
are basic functional errors even a beginner skater wouldn’t make. “There

36 canadian architect 10/08

p36-37 Insites-Skate.indd 36

10/6/08 10:54:47 AM

are probably too many features and gizmos,” says
architect Howard Davies, “but they were recommended by the consultants.” When the plaza
opened in May 2007, these former consultants
denounced it. Grind leader Eric Mercier, who
declared publicly that he quit because Big City
went “buckwild,” even helped organize a protest.
What they protested is a roughly squareshaped, two-level plaza. Big City took advantage
of the need to remove contaminated soil from the
site to sink the main skating area about a metre
below grade, enabling passersby and skaters to
use the park simultaneously. Models show a concept based on manipulating topography, as if the
plaza was built from a folded and crimped concrete sheet. The eight-inch-thick insulated concrete has galvanized steel edges—a demanding
spec that, along with additional landscaping and
lighting requirements, accounts for the $450,000
construction budget. “The place is built to last,”
says Davies.
Drawbacks? The architects were not allowed to
use the area directly under the bridge. Coupled
with safety precautions preventing activity from
spilling onto the sidewalk, and the presence of a
giant subway ventilation shaft, this left only about
700 square metres of actual usable area for skating, much less than the 3,000-square-metre
plaza in Vancouver or the 4,000-square-metre
park in Winnipeg. And the chosen site is a bit of a
no-man’s land, not the rich urban crossing originally envisioned. Ironically, given skateboarding’s links to marginal behaviour, some skaters
don’t like being close to the street life of Montreal’s gay village.
Herein lies the conundrum. If sometimes
skaters are urban lumpenproletariat, more often
they are bourgeois suburbanites. Davies opines
that perhaps one vocal group of skaters thought
they would get a recreational facility, like a community soccer pitch, set apart from street life.
For them the plaza’s publicness—which the
architects worked hard to achieve—is a disappointment.
So what are public spaces supposed to do in the
modern city—and exactly what are people supposed to do in them? Shop? Eat? Play beach volleyball? The skate plaza is yet another recent
instance that shows Montrealers uninterested in
inhabiting public space. A more prominent
example would be the award-winning design for
the Quartier International de Montréal, designed
by Daoust Lestage/Provencher, Roy et associés. It
vastly improved its neighbourhood via a strong
interpretation of 19th-century urbanism, but it
gives us gardens—respite from urban life, not
involvement in it—with no real public place for a
rabble-rousing speech, for a demonstration, or
for skateboarding.

Nevertheless, Davies is hopeful that for future
skate parks, the best solution may still be
achieved through good architecture combined
with less policing. “If I could do this again, I
would design a public space—a Big City public
space—and let them claim it,” says Davies. “I
think the skaters would just take it over.” But get-

ting that to happen would require faith in public
space that neither the city nor the skaters seem to
possess. ca
David Theodore is a regional correspondent for Canadian Architect.

10/08 canadian architect

p36-37 Insites-Skate.indd 37

37

10/6/08 10:54:49 AM

The University of British Columbia
School of Architecture and Landscape Architecture
DIRECTOR
The University of British Columbia seeks outstanding candidates for the position of Director of the
School of Architecture and Landscape Architecture.
UBCâ&#x20AC;&#x2122;s School of Architecture and Landscape Architecture was formed in 2005, through the consolidation of the Landscape Architecture Program and the School of Architecture. The new School includes
graduate level professional and post-professional programs in Architecture and Landscape Architecture,
together with an undergraduate program in Environmental Design. The School has a full-time faculty of
26, 10 staff and over 300 outstanding and diverse students. Research strengths cover a broad range and
often have an interdisciplinary emphasis. We invite individuals capable of bringing vision, energy and
leadership to the School and who are committed to exploring the full potential of our new institutional
setting.
The School Director acts as primary academic and administrative officer of the School, coordinating the
varied School programs and activities. The Director manages the Schoolâ&#x20AC;&#x2122;s budget, provides academic
leadership to all School faculty members, and takes a lead role in engaging professional and community
interests at local, national and international levels. The Director reports to the Dean of Applied Science
and is expected to maintain a leadership role in a variety of University and professional settings.
Candidates for School Director should hold an advanced professional degree with a record of demonstrated excellence in education, scholarship and/or professional practice, as well as significant administrative experience in academic, professional or community settings including strategic planning and
fundraising. Qualified candidates will possess an established record as educator or comparable professional achievement that merits appointment as a tenured Associate Professor or Full Professor.
The position will be available on July 1, 2009. Consideration of candidates will commence on October
1, 2008, and will continue until the position is filled. Please visit www.apsc.ubc.ca/prospective_faculty/
for updates on the status of the position. Interested candidates should submit an application package
that consists of a statement of interest, a current curriculum vitae, a portfolio of professional/academic
accomplishment including a statement of research priorities and a record of teaching effectiveness, and
the names and addresses of four referees to:
Dean of Applied Science
Chair, SALA Director Search Committee
Faculty of Applied Science
The University of British Columbia
5000 - 2332 Main Mall
Vancouver, BC, Canada V6T 1Z4
Applications should be sent by e-mail only to recruitment@apsc.ubc.ca (only Word or pdf files, set for
printing on letter-size paper, should be attached).
The position is subject to final budgetary approval. The University of British Columbia hires on the basis
of merit and is committed to employment equity. All qualified candidates are encouraged to apply.
However, Canadians and permanent residents will be given priority.

element™ by Big ass Fans®
Element™ is the newest Big Ass
Fan® custom engineered for commercial spaces such as restaurants,
office buildings and schools. The
gearless motor of the Element fan
maximizes energy efficiency with
silent, superior performance while
the patented airfoil and winglet
design optimizes airflow. With
over 30,000 fans in operation,
Big Ass Fans is the authority on
innovative air movement solutions.

Another innovative product from
SOPREMA, SOPRASEAL XPRESS G
combines a tri-laminate woven
polyethylene air/vapour barrier,
primer and gypsum board with a
specially treated core in one easy
to handle 4 by 8 ft. panel. Installation of three wall components is
cut to a single step. Call 1-877
MAMMOUTH.
www.soprema.ca

Our free catalogue and web site
feature turn-key solar systems for
on grid and off grid residences.
Designers and installers choose
Home Energy Solutions to provide
complete systems, components and
expertise. Installations from coast
to coast.

With new Mapesonic™ SM, the
annoyance of airborne and impact
sound transmitted through floor/
ceiling assemblies is dramatically
reduced. The premium “peel-andstick” membrane not only offers an
STC rating of 73 and IIC rating of
69—but also provides in-plane
crack isolation. Mapesonic SM is
white to optimize visibility on the
job site. Printed layout lines help
reduce the labour associated with
measuring and cutting.

MODeRN • VeRSaTile •
DURaBle • leeD COMPliaNT

www.mapei.com

After over 15 years on the market,
Noble block has more than proven
its reputation for quality and durability. Choose it for your project
with the utmost confidence. Since
2006, the range has been extended to offer 2 stones and a brick.
To top it off, with its recycled materials, Noble block is compliant
with the LEED program.
CiRCle RePly CaRD 106

WWW.PeRMaCONPRO.Ca

New solutions for architects:
Versa-Dek® and Deep-Dek®

Kee® access aDa Handrail
System

Discover our new solutions that let
you combine beauty and strength.
Versa-Dek® and Deep-Dek® architectural steel deck allow you to
transform your ideas into special
shapes and open space environments.

From the manufacturer of Kee
Klamp®, new Kee Access safety
components are used to build ADAcompliant handrail systems. Easy to
install using simple tools — no
welding or drilling required. Cuts
installation costs up to 50% or
more compared to welded railings.
Galvanized for corrosion resistance. Available in a wide range of
powder-coated colors. Designed
for stairs, ramps and walkways.

To find out more about our innovative solutions, contact Anthony
Gerace at 1-877-499-6049 or
anthony.gerace@canam.ws.

CiRCle RePly CaRD 107

Visit www.ElementFan.com, call
877-BIG FANS, or email us at
info@bigassfans.com.

VICWEST manufactures its insulated metal panels from one of North
America’s most modern plants. This
facility produces panels of polyisocyanurate foam sandwiched between steel profiles. The panels are
eco-friendly, energy efficient and
ideal for use in LEED projects.
Demand for these panels is growing due to their quick installation
capability, reduced labour costs
and excellent thermal properties.
Manufactured in a variety of colours and architectural profiles.
905-825-2252. www.vicwest.com

With a light-to-solar gain (LSG)
ratio of 1.64, Solarban z50 solar
control low-e glass offers an exceptional combination of daylight
transmittance and solar control that
is up to 30 percent better than
competitive products. An aesthetic
range from a steely blue-gray to a
luminous aqua-blue tint also meets
architect demands for a distinctively different exterior appearance
with low reflectance.

CiRCle RePly CaRD 110

PROFeSSiONal DiReCTORy

aluminum and Metal Composite Materials

Turn roof tops into
landscaped decks.

ALPOLIC®’s virtually unlimited
array of Aluminum and Metal
Composite Materials are anything
but ordinary, and all feature
superior flatness and rigidity, yet
amazing flexibility, ease of fabrication and installation. For lightweight panels that are as tough
and durable as they are beautiful
and unique, ALPOLIC® simply
can’t be beat.

hip, modern fires
Offering clean, simple gas fireplace designs
for the modern home. Winner of the Interior
Design Best of Year Award.

www.sparkfires.com
p 866.938.3846

modern fires
CiRCle RePly CaRD 28

40 CaNaDiaN aRCHiTeCT 10/08

p39-40 Showcase+PD+Ad.indd 40

10/6/08 10:55:42 AM

calendar
Personal Space

Sur les Pavés la Ferme!

September 28, 2008-January 4, 2009
This exhibition at the Architecture
Gallery at Harbourfront Centre in
Toronto explores the concept of
personal space in the design work of
Donald Chong Studio, lateral architecture, and NIP paysage, and in the
writing of Andrew Westoll.
www.harbourfrontcentre.com

October 28, 2008 Work Architecture
Company (WORKac) of New York
presents this lecture at 6:30 pm in
Room 103 of the John H. Daniels
Faculty of Architecture, Landscape
and Design, University of Toronto.

Science Planning Expulsion: The
National Socialist General Plan
for the East

October 15-December 13, 2008 This
exhibition takes place at the Eric
Arthur Gallery, John H. Daniels
Faculty of Architecture, Landscape
and Design at the University of
Toronto, and documents the General Plan for the East (GPO) which
embodied the Nazi vision for a radical reorganization—racial, spatial,
and demographic settlement patterns—of Eastern Europe.
www.chass.utoronto.ca/jiges/gpo_
october-2008.pdf
PIG versus caT: a Meditation
about the rhetoric of Globalization and the dress of Built
Matter

October 21, 2008 Paolo Conrad-Bercah, Architect and Visiting Critic,
Graduate School of Design, Harvard
University presents this lecture at
6:30 pm in Room 103 of the John H.
Daniels Faculty of Architecture,
Landscape and Design, University
of Toronto.
Sustaining the environmental,
Social and economic life of cities

October 27, 2008 Heritage Toronto
will celebrate outstanding contributions by individuals and community
organizations, as well as industry
professionals and associations, in
promoting and conserving Toronto’s history and heritage landmarks.
The event begins at 7:30 pm on the
7th floor of the Carlu in Toronto.
www.heritagetoronto.org

dX Black & White Fundraising
Gala

October 30, 2008 This annual event
takes place at the Design Exchange
in Toronto, featuring an exclusive
VIP dinner and party.
www.dx.org/gala/
Integrated design, From Buildings to cities

November 4, 2008 Matthias Schuler,
partner of Stuttgart’s Transsolar
Environmental Consultants presents this lecture at 6:30 pm in Room
103 of the John H. Daniels Faculty
of Architecture, Landscape and
Design, University of Toronto.
Mario Botta lecture

November 10, 2008 As part of Carleton University’s Azrieli School of
Architecture and Urbanism’s Forum
lecture series, this lecture at
Ottawa’s National Gallery of Canada
is delivered by Mario Botta, arguably the most famous living Swiss
architect, who worked as an assistant to both Le Corbusier and Louis
I. Kahn.
Tracing Tactile Thought in
Teaching Tectonics

November 10, 2008 Romolo Martemucci of Penn State and President
of Accademia Adrianea in Rome
presents this lecture at 6:00 pm in
Room G10 of McGill University’s
Macdonald-Harrington Building in
Montreal.
living on the edge

November 17, 2008 Bing Thom of Bing
Thom Architects in Vancouver presents this lecture at 6:00 pm in
Room G10 of McGill University’s
Macdonald-Harrington Building in
Montreal.

For more inFormation about
these, and additional listings oF Canadian and international events, please visit
www.canadianarchitect.com
cIrcle rePly card 29

p41 Calendar+Ad.indd 41

10/6/08 10:56:02 AM

Backpage

parking prOjectiOns

The roof of a parkinG GaraGe in vancouver’s GasTown was recenTly TransformeD
inTo a Drive-in for boTh vehicular anD
peDesTrian auDiences in a celebraTion of
vancouver-relaTeD films.

text

ian choDikoff
Gavin mackenzie

phOtOs

It is always inspiring to watch an architect find
her voice in the profession in ways that go be­
yond standard practice. For Vancouver architect
Peeroj Thakre and her husband, graduate archi­
tect Henning Knoetzele, the evolution of profes­
sional identity includes design advocacy in the
form of Urban Republic, a non­profit organiza­
tion that pulls in expertise from architects and
non­architects alike. The couple recently com­
pleted their first major design intervention—the
Gastown Drive­In.
Having worked in a number of firms, Thakre
wanted to discover what she could accomplish
through her own initiatives. So in 2008, she
made a leap of faith and left the firm she had
worked at for several years to form ph5 architec­
ture inc. with Knoetzele. The name of their prac­
tice is derived from the initials of their first
names, as friends commonly refer to the couple
as “PH.” The biggest challenge for ph5 currently
is to obtain larger commissions, possibly at the
institutional level. That day may come very soon,
as Urban Republic is a vehicle enabling Thakre
and Knoetzele to conduct speculative explora­
tions into temporary urbanism.

Two views of The phenomenally successful roofTop GasTown Drive-in, proof
ThaT invenTive proGramminG can aDDress unDeruseD public space in DownTown vancouver in a posiTive fashion.

aBOVe

The Gastown Drive­In was installed on the
rooftop of a parking garage in Vancouver’s down­
town Gastown neighbourhood. Participants
immediately understood the project’s intentions:
Urban Republic’s ephemeral experiment demon­
strates how an underused utilitarian space can be
transformed from banal anonymity by day into a
community­oriented social space at night, where
people can congregate either inside or outside
the hermetic capsules of their cars to enjoy
campy flicks together.
The three­night drive­in opened just after
Labour Day with Hard Core Logo, a film directed
by Bruce McDonald that follows a punk band
touring Western Canada. Other films in the ser­
ies include Fetching Cody, David Ray’s story of
drug addicts in Vancouver’s Downtown Eastside,
and Eve and the Fire Horse, a film by Julia Kwan
about a precocious nine­year­old girl growing up
in a traditional Chinese family in Vancouver.
Cineworks partnered with Urban Republic to
program the short films, all of which relate to
poignant cultural issues affecting Vancouverites.
To project the films, Thakre and Knoetzele
designed a screen measuring nine by 12 metres,
which was assembled on site due to the height
restrictions of the parkade. The entire project
cost just over $20,000—raised through a number
of sources—with most of the money spent on the

projection screens and audio­visual equipment.
Admission was a mere $6 per vehicle—standard
evening parking garage rates, and pedestrians
and cyclists were welcomed free of charge.
This wasn’t Urban Republic’s first public
installation. In 2007, they organized a video
installation of nature­inspired imagery to cele­
brate the Pine Street Community Garden’s inaug­
ural harvest. And in 2005, both Thakre and
Knoetzele were involved with Space Agency’s
FrontierSpace—the temporary transformation of
Gastown’s Trounce Alley (see CA, October 2005).
Their next project will look at a suburban site
beyond the downtown core.
One of Urban Republic’s strengths is the fact
that the organization works with people who
aren’t architects; they recognize that artists,
filmmakers and community leaders can contrib­
ute vital and complementary expertise to public
projects. With a little more time and a few more
projects behind them, Urban Republic will
undoubtedly be appreciated by Vancouver for the
tremendous value that they have provided in
reaching beyond the architectural community as
a successful agent of change for the city. ca
For more information on Urban Republic, please visit
their website at www.urbanrepublic.ca.

42 canadian architect 10/08

p42 BackPage.indd 42

10/6/08 10:56:21 AM

4-

CirCle reply Card 30

p43 Alpolic ad.indd 43

10/6/08 10:57:10 AM

Vicwest Canadian Architect ad 2:Layout 1

8/11/08

11:13 AM

Page 1

If you think this structure looks
“green” wait til’ you see the reveal

w w w. v i c w e s t . c o m

Residential

When you need to achieve LEED certification Vicwest has the products and technical

Commercial

teams to help you tackle the most challenging sustainable building designs. For a

Industrial

range of metal building products and responsive service you won’t find anywhere,